Als 1982 Steven Severin mit Siouxsie and the Banshees und der noch recht kurzhaarige und damals maximal geringfügig Lippenstift tragende Robert Smith mit The Cure stark belastet und die beiden sowieso, dank Smiths Engagement als zwischenzeitlicher Gitarrist der Banshees, viel gemeinsam unterwegs waren, buchten sie gegen Ende des Jahres ein Studio.
Continue reading “The Glove – Perfect Murder {1983}”
Als Prince Fatty 2020 überlegte, welcher Song der “Free Love” Ära der 60er sich für eine Coverversion eignen würde, stach nach seiner Meinung “White Rabbit” von Jefferson Airplane aus allen Tunes heraus, die in die Auswahl des Ausnahmeproduzenten kamen…
Continue reading “Prince Fatty & Shniece Mcmenamin – Black Rabbit {1966|2020}”
Located somewhere on the edge of UK street soul (plus a little bit of deep house) Special Touch is one of the defining examples of this often retrospectively termed genre, which loosely categorised black, soul-inspired music with a DIY, bass-driven aesthetic from the late 80s to early-mid 90s.
Continue reading “[Every Friday #26] > Special Touch – Garden of Life {1991}”
It seems that Gloria Jones was living more than just one life. Born in Cinicinnati she moved to California and recorded her first music in the beginning of the 60s. She studied piano and a acquired an advanced classical degree primarily in the works of Bach, performed in several musicals (Hair amongst others), became a songwriter for Motown, supported Bob Marley on his first tour of the UK as a member of the band Gonzalez, and moved to England where she met Marc Bolan. They became a couple and she gave birth to their son Rolan Bolan, while she was singing background vocals for T.Rex, and also drove the car that killed Marc Bolan eventually. In 1995 she moved to Africa and opened a musical school.
Continue reading “[Every Friday #25] > Gloria Jones – Tainted Love {1964}”
Coverversionen haben es in der Regel schwer, sich gegen das Original zu behaupten. Erst recht, wenn zwischen Original und Cover Release Jahrzehnte liegen und sie dann auch noch Genre-übergreifend sind. Was mit dem Pink Floyd Cover von “Astronomy Domine”, das 1989 auf dem Album “Nothingface” von Voivod erschien, zweifelsfrei der Fall war.
Continue reading “Voivod – Astronomy Domine {1967|1989}”
I am not ashamed at all to admit that music can make me cry. Either it hits a soft spot at that very moment or sometimes I’m just not expecting to be moved so deeply that the only release is tears. Positive tears, but still, tears.
Continue reading “[Every Friday #24] > Erasmo Carlos – Masculino, feminino {1971}”
In Kürze: Andy Fletcher ist dieser Tage im Alter von 60 Jahren verstorben und ich denke, Blasphemous Rumours ist der entsprechend beste Song, um sich von ihm zu verabschieden.
Continue reading “Depeche Mode – Blasphemous Rumours {1984}”
Another quick one, as I don’t have time at all.
Continue reading “[Every Friday #23] > Tandem – Ein Typ wie Du {1982}”
Whitney Houston war 19 Jahre alt und es sollte noch ein Jahr dauern, bis Ihr von Arista ein weltweiter Plattenvertrag angeboten wurde, den sie dann annehmen durfte – bei den beiden vorherigen Angeboten legte ihre Mutter ein Veto ein, da Whitney noch keinen High School Abschluss – und der Rest ist Geschichte.
Continue reading “Material feat. Whitney Houston & Archie Shepp – Memories {1965|1982}”
I just brought my two sons to the station, leaving for their first solo trip to Paris. So this needs to be a French tune.
Serge Gainsbourg was a genius. Starting with chansons and clever lyrics in the late 50s, he soon made a point releasing music that always captured the spirit of the times, venturing off to some amazing groovy beat tunes with Brigitte Bardot, erotic ballads with Jane Birkin, funk, disco, reggae, and dub eventually. And I probably forgot a couple of genres as well.
Continue reading “[Every Friday #22] > Serge Gainsbourg – Melody {1971}”